TABLE OF CONTENTS

CHAPTER 7/PART 1  FROM VAUDEVILLE TO THE NICKELODEON

VAUDEVILLE: THE ORIGINAL VENUE

A Cultural Space for Women and Children

Figure 7.1: Méliès in America (I)

A Theater of Structured Variety

Figure 7.2: “High-Class” Vaudeville

A Fascination for Stars and Star Turns

Figure 7.3: A Variety of Motion Pictures
Figure 7.4: The Movies Record Vaudeville

The Variety Format: “A Discontinuous Series of Attractions, Shocks, and Surprises”

The Humiliation of the Unadjusted: Uncle Josh at the Motion Picture Show

Figure 7.5: The Self-Reflexive Spectacle

The “Aesthetics of Display” and the “Regime of the Keyhole”

A Primitive Diversity of Appeals

Figure 7.6: The Primitive Vantage Point

Perspectives on Passion: Love in a Hammock

Figure 7.7: Hybrid Points of Interest

The Tendency toward Visual Overload: The Tableau Tradition

Figure 7.8: The Tableau as Attraction

Generic Hybrids

Figure 7.9: The Self-Reflexive Hybrid

GLOSSARY

REFERENCES

Reading 7.1: In Theory: Voyeurism: Fictions of Innocence and Ignorance

Figure R7.1: From Innocence to Ignorance
Figure R7.2: Gullible or Innocent?
Figure R7.3: The Art of Divesting and Colluding

Reading 7.2: In Theory: The Look at the Camera

Figure R7.4: The Phantom Switch
Figure R7.5: The View through the Peephole
Figure R7.6: What Actually Happened
Figure R7.7: Rufus T. Firefly Shares a Joke with the Audience

Reading 7.3: Jump Cut: A Movie of Childish Logic and Adolescent Metaphors

Figure R7.8: “Springs of Luminous Sensuality”
Figure R7.9: “Quasi-Nudity for an Hour and a Half”

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